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Hail! bright Cecilia, Z328

Introduction

In 1683 Purcell had been the first composer commissioned to write an Ode to celebrate St Cecilia’s Day by the newly formed ‘Musical Society’. On that occasion he produced Welcome to all the pleasures, notable not only for its great freshness but also for its wonderfully original string ritornelli. Nine years later the Society was flourishing and the ‘Gentleman Lovers of Musick’ once again turned to Purcell to ‘propagate the advancement of that divine Science’. As Motteux wrote, ‘A splendid entertainment is provided, and before it is always a performance of Music by the best voices and hands in town’. With Hail! bright Cecilia Purcell excelled himself.

Brady’s poem was derived directly from Dryden’s Ode of 1687, which was the first to call for obbligato instruments, and also the first to suggest that Cecilia invented, rather than simply played, the organ. Most of Purcell’s Odes were written for the relatively small forces available at Court, but on this occasion he was given the opportunity to write for a large group of performers. Purcell chose to mix large, contrapuntal choruses with a sequence of airs for soloists and obbligato instruments. The canzona of the Symphony contains a fugue on two subjects, and is thematically linked to the fugato theme which closes the work in ingenious double augmentation. At the centre of the Ode comes the powerful chorus ‘Soul of the World!’ closing in ‘perfect Harmony’. Between this and the large-scale choruses that frame either end of the Ode come an inspired selection of airs, based around an extraordinary collection of compositional devices. ‘Hark, each Tree’ is a sarabande on a ground, whilst ‘Thou tun’st this World’ is set as a minuet; ‘In vain the Am’rous Flute’ is set to a passacaglia bass, and ‘Wond’rous Machine!’ splendidly depicts an inexorably chugging machine with its ground bass and wailing oboes. Perhaps the most remarkable solo movement is ‘’Tis Nature’s Voice’ where the recitative is so heavily ornamented as to make it melismatic arioso. (The score writes ‘Mr Pate’ against this number, but some commentators have misread Motteux’s report of this movement, ‘which was sung with incredible graces by Mr. Henry Purcell himself’, to suggest that Purcell was the singer, rather than the writer, of those ‘incredible graces’.) With a text full of references to music and musical instruments, the work requires a wide variety of vocal soloists and obbligato instruments. Everywhere we find writing of great originality, word-setting of the highest calibre, and music of startling individuality.

Recordings

Two glorious Purcell Odes enjoy performances of perfection from The King's Consort, the Choir of New College Oxford, and a distinguished line-up of soloists. 'Hail! bright Cecilia' is the last, and greatest, of Purcell’s four Odes to St Cecilia, a ...» More

'A treasure house of shamefully neglected music. Over nine hours of wonderful invention … this major recording achievement must be an irresistibl ...'By any yardstick these are life-enhancing works' (CDReview)» More

This recording of duets by the great composers of the Restoration is one of the gems of Hyperion’s catalogue. It features the celebrated countertenors James Bowman and Michael Chance at the peak of their powers.» More

'Robin Blaze has the special ingredients to transcend any latent prejudice [of countertenors], especially in a recital as wide-ranging and intelligent ...'Can be recommended without reservation … the wonderful 'By beauteous softness’, from Queen Mary’s Birthday Ode of 1689, given this performance, ...» More

The young, virtuoso A Cappella ensemble VOCES8 returns to disc on Signum with a sumptuous collection of early works by Henry Purcell. Joined by the specialist early-music ensemble ‘Les Inventions’, the group explores Purcell’s astoundingly diverse ...» More

Hark, each Tree its silence breaks,
The Box and Fir to talk begin.
This in the sprightly Violin,
That in the Flute distinctly speaks.
’Twas Sympathy their list’ning Brethren drew
When to the Thracian Lyre with leafy Wings they flew.

’Tis Nature’s Voice; thro’ all the moving Wood
Of Creatures understood:
The Universal Tongue to none
Of all her num’rous Race unknown.
From her it learnt the mighty Art
To court the Ear or strike the Heart:
At once the Passions to express and move;
We hear, and straight we grieve or hate, rejoice or love;
In unseen Chains it does the Fancy bind;
At once it charms the Sense and captivates the Mind.

’Tis Nature’s Voice; thro’ all the moving Wood
Of Creatures understood:
The Universal Tongue to none
Of all her num’rous Race unknown.
From her it learnt the mighty Art
To court the Ear or strike the Heart;
At once the Passions to express and move;
We hear, and straight we grieve or hate, rejoice or love;
In unseen Chains it does the Fancy bind;
At once it charms the Sense and captivates the Mind.

Soul of the World! Inspired by thee,
The jarring Seeds of Matter did agree.
Thou did’st the scatter’d Atoms bind,
Which, by thy Laws of true proportion join’d,
Made up of various Parts one perfect Harmony.

With that sublime Celestial Lay
Can any Earthly Sounds compare?
If any Earthly Music dare,
The noble Organ may.
From Heav’n its wondrous Notes were giv’n,
(Cecilia oft convers’d with Heav’n).
Some Angel of the Sacred Choir
Did with his Breath the Pipes inspire;
And of their Notes above the just Resemblance gave,
Brisk without Lightness, without Dulness Grave.

The Airy Violin
And lofty Viol quit the Field;
In vain they tune their speaking Strings
To court the cruel Fair, or praise Victorious Kings.
Whilst all thy consecrated Lays
Are to more noble Uses bent;
And every grateful Note to Heav’n repays
The melody it lent.

Hail! bright Cecilia, Hail to thee!
Great Patroness of Us and Harmony!
Who, whilst among the Choir above
Thou dost thy former Skill improve,
With Rapture of delight dost see
Thy Favourite Art
Make up a Part
Of infinite Felicity.
Hail, bright Cecilia, Hail to thee!
Great Patroness of Us and Harmony!